224:
building does not necessarily mean a harmonisation with its surroundings. On the contrary, the exterior design is understood as the manifestation of an architect's attitude to those surroundings. When the site is deemed to possess a beauty and strength of its own, its impact on the landscape is minimised to an extreme (such as in the seaside
Piscinas de Marés). When the site is deemed under or poorly developed, the building is markedly and visibly closed onto itself, with a greater attention given to its interior (such as in the Lordelo Cooperative or the Rocha Ribeiro House).
182:
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76:
165:. Besides engraving a mindset of openness to artistic innovation and to the city of Porto itself, Carlos Ramos was also influential in bringing to ESBAP a faculty of artists who would go on to influence the following generations of architects and fine artists. Not withstanding the modernisation brought about by his time at ESBAP, Ramos did not abandon the core principles left by Marques da Silva, harnessing and developing the importance of drawing and the methodology of teaching as if in an
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traditional
Portuguese architecture. SAAL's scale was larger, however – 11,500 homes were planned to be built across 33 different sites in the city. The substantial strength of residents' associations in Porto during the post-revolutionary period made possible the ambition that SAAL would build more than just homes – parks, nursery schools, and other collective use facilities were beginning to be thought of purely through the interaction between architects and residents. The
154:, one of the most renowned architects in the country in the beginning of the 20th century, was part of the faculty between 1906 and 1939, as well as the head of the institution for 15 years. He had an influence in the school through the importance given to drawing and its rigour as a tool of the creative process in Architecture, as well as to considerations of function and utility, a framework of teaching mostly influenced by his training in Fine Arts in Paris with
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Portuguese architecture and a worldwide reference in the field. The restraints caused by the country's poor economic situation and the service's own fragile financial status were well suited to the school's modernist attitude towards rationality and functionalism. The main mark left on the city by the programme was the Bouça housing complex, by Álvaro Siza Vieira.
27:
204:
The building exemplifies his concern of developing and reconciling the radical tendencies of modernist architecture with the local and historical context, contributing to his defence of
Architecture as an answer to the social needs of the "Man of today" and as a practice which inescapably exists in a
227:
His individual evolution along with his growing international acclaim placed him on a different level compared to his contemporaries and lead him to a progressive distancing from ESBAP – he was hired as an assistant professor in 1966 but resigned in 1969 after Carlos Ramos's departure and the number
211:
interns with Távora between 1955 and 1958 after being his student at ESBAP. Siza remembers Távora as the first person in the school to recognise his talent – until then Siza describes his academic performance at the school as "very mediocre". From 1958 onwards he starts working on his own, designing
344:
The
Architecture course at the Faculty of Architecture continues to be one of the most sought out degrees in the country due to its reputation and teaching methods, having the highest entry bar in the country in its field. Faculty of FAUP have also taken part in the creation of Architecture degrees
223:
In his early works Siza continues and expands the dialogue between modernist influences and traditional
Portuguese architecture, as well as the importance of location and place to the exterior design of the building, although with some differences to Távora. With Siza, the contextualisation of the
265:
The involvement of architects trained (or in training) at ESBAP in the SAAL crews meant a change of scale from what they usually worked in. The Porto School's approach had always found better refuge in smaller, less complex projects, where the desired intimate relationship with location and with
270:
and revolutionary character of SAAL was openly stated by those involved. The defeat of this political doctrine after the events of 25 November 1975, eased the dismantling of the programme and the consequent interruption of many of its operations – only 370 homes were eventually built in Porto.
261:
created after the revolution that set out to answer the pressing housing needs of disadvantaged populations in
Portugal. Its methodology of direct interaction between crews of architects and the target population organised in residents' associations makes it a unique moment in the history of
282:
This process left lasting marks at ESBAP and the School's collective identity, which had found in SAAL an essential reason for its own existence. The widespread development of the role of the private sector in housing from the 1980s onwards favoured generally stereotypical and repetitive
200:
entered ESBAP as an
Architecture student in 1941, complementing it with a higher degree from 1945 onwards. In that time, he developed through essays a theoretical underpinning to his work which culminates in the design of the Santa Maria da Feira Municipal Market in 1953.
137:
to the specific local and historical background of each work and to the roots of
Portuguese traditional architecture. The first work unanimously attributed to the School was designed in 1953, but its origins can be traced from the beginning of the 20th century.
283:
construction, usually of tower blocks detached from its surroundings. The main architects from Porto, rejecting this general tendency, only found opportunities to work in
Portugal on the design of upper class housing and public buildings.
158:. However, his conception of Architecture was realised in his work and instruction somewhat anachronistically, detached of the revolution of the Modernists, which frequently undervalues his relevance as a forefather to the Porto School.
205:
given (social, economical, climatic) setting. The market can be understood as the first work belonging to the School – where the seeds are laid for Távora's following projects and for the genesis of the Porto School's identity.
228:
of pedagogical and political crises that had plagued the institution. Ramos's death, along with the academic struggles of 1968 and 1969, lead the school to an artistic stagnation from which it only emerged after the
955:
169:. However, he did not realise, either in his works or theoretical content, the paths of development of Portuguese architecture that his students would go on to trail. According to
161:
It is Carlos Ramos, a professor at ESBAP for thirty years and its leader between 1952 and 1967, who is credited as the "establisher of contemporaneity in the school', as stated by
615:
125:
The School is the foremost expression of modern architecture in
Portugal. It is defined by the importance given to the contextualisation and integration of the
689:
484:
Lado B : Escola do Porto : lado B : 1968-1978 (uma história oral) = Porto school : B side : 1968-1978 (an oral history)
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dictatorship was overthrown and the tension accumulated of years under the regime's oppression was released in the period that followed: the
959:
238:
310:, with its location overlooking the river and next to a 19th-century house taken fully advantage of and incorporated into the project.
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in Portuguese, or simply SAAL) was a crucial moment for the Porto School. SAAL was a state programme for the construction of
196:, "Távora is the father of the Porto School, but the great-grandfather of Europe. He is an historical and universal figure".
987:
341:(Siza Vieira and Souto de Moura), and the refurbishments of the Palácio do Freixo and the Casa dos 24 (Fernando Távora).
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Also in the 1980s the Architecture course at the School of Fine Arts was transferred to a new institution part of the
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220:, Piscinas de Marés, swimming pool at Quinta da Conceição), some of them started while he worked under Távora.
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75:
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O arquitecto José Marques da Silva e a arquitectura no norte do país na primeira metade do séc. XX
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37:
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715:
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585:. José Marques da Silva (2nd ed.). Porto: Faculdade de Arquitectura/Universidade do Porto.
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and is located in the Campo Alegre Campus of the university, in a panoramic setting over the
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956:"Souto Moura vence o prémio Pritzker 2011, o Nobel da arquitectura – Cultura – PUBLICO.PT"
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356:Álvaro Siza Vieira, in 1992, and Eduardo Souto de Moura, in 2011, were awarded with the
258:
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337:(stations mostly designed by Souto de Moura), the renovated Aliados Avenue in central
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468:
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The impact of the Porto School continues to be felt in the city by works such as the
155:
487:. Nuno Faria, Centro Internacional das Artes José de Guimarães. : Documenta. 2014.
690:"Fernando Távora (1923–2005) O reinventor da arquitectura moderna com sabor local"
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in Portugal. Grounded in the teaching at the Porto School of Fine Arts and the
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106:, it is one of the most influential architectural movements in the history of
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502:
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545:"A escolha do Porto: contributos para a actualização de uma ideia de escola"
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134:
46:
437:
Mesquita, Francisca; Calix, Teresa; Xavier, João Pedro (29 December 2020).
26:
854:
773:
738:
482:
880:"SAAL : um programa de habitação popular no processo revolucionário"
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451:
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173:, Carlos Ramos "liked to open up pathways more than pinpointing them".
166:
544:
816:(in Portuguese) (1st ed.). Imprensa da Universidade de Coimbra.
884:
História – Revista da Faculdade de Letras da Universidade do Porto
655:"Escola(s) do Porto – o melhor ensino artístico ainda mora aqui".
338:
299:
253:
The school's involvement in the Ambulatory Local Support Service (
147:
122:
are some of the most globally renowned Portuguese architects.
20:
278:
Porto School of Architecture, designed by Álvaro Siza Vieira
906:"FAUP – Faculdade de Arquitectura da Universidade do Porto"
439:"Searching for the Essence of Architecture at Porto School"
325:
Museum of Contemporary Art, designed by Álvaro Siza Vieira
150:
begins in 1911, at the Porto School of Fine Arts (ESBAP).
146:
The teaching of architecture as an independent program in
813:
O Processo SAAL e a Arquitectura no 25 de Abril de 1974
51:
41:
743:(1st ed.). Porto: Campo das Letras. p. 115.
360:, often considered the "Nobel Prize of Architecture".
249:
Bouça housing complex, designed by Álvaro Siza Vieira
859:(in Portuguese). Lisbon: Conselho Nacional do SAAL.
543:Fernandes, Eduardo Jorge Cabral dos Santos (2011).
185:Santa Maria da Feira Municipal Market, designed by
333:Museum of Contemporary Art (by Siza Vieira), the
931:"Guia da Candidatura 2021 – Detalhe de Curso"
8:
640:(October 2003). "Entrevista a Álvaro Siza".
368:Some of the Porto School's main architects:
853:Serviço Ambulatório de Apoio Local (1976).
718:(1947). "O problema da casa Portuguesa".
673:(October 1987). "Evocando Carlos Ramos".
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778:. Matosinhos: Afrontamento. p. 30.
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273:
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74:
856:Livro branco do SAAL, 1974–1976. Vol. 1
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306:synthesises the main aspects of the
688:Salema, Isabel (3 September 2005).
810:Bandeirinha, José António (2007).
443:EAAE Annual Conference Proceedings
255:Serviço de Apoio Ambulatório Local
14:
18:Portuguese architecture movement
958:. 30 August 2011. Archived from
878:Pereira, Gaspar Martins (2014).
239:Processo Revolucionário Em Curso
232:of 1974, when the long-standing
25:
294:. The new site was designed by
1:
104:Porto School of Architecture
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822:10.14195/978-989-26-1265-2
212:three seminal projects at
775:Álvaro Siza em Matosinhos
614:INHA (25 February 2013).
579:Cardoso, António (1997).
100:contemporary architecture
993:Architecture in Portugal
720:Cadernos de Arquitectura
737:Cruz, Valdemar (2005).
659:(14): 14–17. July 2011.
345:at the universities in
292:Faculty of Architecture
218:Casa de Chá da Boa Nova
108:Portuguese architecture
40:, as no other articles
772:Salgado, José (2005).
657:Revista U.PORTO Alumni
560:Cite journal requires
515:: CS1 maint: others (
398:Eduardo Souto de Moura
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194:Eduardo Souto de Moura
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120:Eduardo Souto de Moura
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383:Alexandre Alves Costa
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152:José Marques da Silva
83:station, designed by
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988:Architectural design
230:Carnation Revolution
110:. Its main figures,
638:Vieira, Álvaro Siza
452:10.51588/eaaeacp.74
288:University of Porto
388:Álvaro Siza Vieira
364:Notable architects
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296:Álvaro Siza Vieira
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209:Álvaro Siza Vieira
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163:Álvaro Siza Vieira
116:Álvaro Siza Vieira
88:
85:Álvaro Siza Vieira
59:for suggestions.
49:to this page from
962:on 30 August 2011
839:978-989-26-1265-2
722:(in Portuguese).
494:978-989-8566-78-2
94:is a movement of
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64:January 2022
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830:10316/41492
644:(9): 28–33.
618:(in French)
445:: 368–396.
335:Porto Metro
300:river Douro
234:Estado Novo
133:typical of
982:Categories
966:17 January
940:17 January
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700:17 January
675:Revista rA
622:17 January
424:References
302:. The new
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131:minimalism
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